Vashti HARRISON records the Caribbean fables about the witch vampire ‘soucouyant’ and shapeshifter ‘lagahoo’ from her relatives living in Trinidad and Tobago. By mismatching the exorcist voice recordings with the imageries shot with a shaky 16mm, this documentary gives the optimal effect of the fable which is on the borderline between fantasy and reality. The voice behind the screen is intended to dispose the conflict between the visual image and reality. However, the incongruent audio and visual image separates the superficial from the supernatural that linger between the narrative and description. Therefore, Field Notes is more useful for geomorphology mapping rather than the research about ‘thinking of the wild.’ Considering the director is an American black woman with a Caribbean heritage, her background is embedded into the film imagery. The geopolitics mapping between the people in the south and the islanders who experienced colonialism in the HBO True Blood series come to mind when considering the oral fable as ethnography and layers of the shots taken in the point of view of a Hollywood sub-par movie. Looking from a world perspective, Field Notes is reversed from its origins and surveys the location of the eerie genre characters that have been appropriated by Hollywood. (KIM Kwang-hee)